Awesome information, yesterday I was able to buy your book Oil Painter’s Color Handbook. Just starting to read it, such a great book and I know I will learn a lot. I have a question about the different wheels, can you still use all of them for color schemes? Like, analogous, complementary, split complementary, triadic, etc.. It seems to me that those schemes only work for the traditional wheel. Do you use those schemes with the Munsell wheel, for example? How? Do you talk about them during your workshop?
What an inspiration I am so happy I stayed up late to watch this tonight after work. I I can't thank you enough for doing this interview with a remarkable man so much knowledge to absorb this is incredible as I am 58 years old and embarking my artist journey inspired four sure.
This is a great podcast, i subscribed.. the only thing i worry about with teaching this to my students is that i want color to be more intuitive. I only use a primary palette and i absolutely teach using complimentary color to get your neutrals but i dont think its realy relevant whether or not a color mixed with another gives you a perfect neutral. I dont know why anyone would care about that. You have other colors on your palette, color should not be mixed in isolation anyway, you test it on the painting, if it needs to go even more neutral just add whatever third color you need to push it there Right? So whats the point of knowing which pigments give you a perfect neutral gray. Im not sure it matters.
Thank you so much. This felt like a quiet, intimate moment learning from a master! Can’t wait to get your book on color. I have enjoyed your first publication very much! 🥰
Marc, love your painting. If you have some free time take a 90 minute ride south from your home to St. Bertrand de Cominges. Some very interesting places to see and paint. At the cathedral explore the carvings of the misericordes beneath the seats of the choir there.
Interesting to hear him talk about his plein air approach. I have noticed on the odd video that exists on YT that he is the most faithful artist to the scene, of those I have seen. His colors are near perfect. And it is almost jarring. He will place a note, particular for a sky, and I sometimes feel it is wrong. But then I notice it is dead on. One of the YT video I love has him painting, doubtless a spectacular scene in the Alps. But on that day it is a near whiteout. And he just marches on, rendering this white landscape of snow and fog. Spectacular.
I went to water mixable oil paints to start in oil painting & might "graduate to" regular oils, totally solvent free with the workflow suggested by Kimberly Brooks in her book "The New Oil Painting" . Turp goes to my liver, Gamsol gives me slight headaches & allergies to other chemicals. There is strictly no reason nowdays to use solvent (and other brands have launched solvent free mediums too).
I shared this with my painting group since we have been discussing solvelt free methods lately. This was SO educational, I cant thank you enough for putting this master class together for us and keeping us healthy! I learned sooo much
I do acryllic underpaintings (for the super vibrant colors) and oil over top (depth & richness) and was lucky to get this color from Golden Acrylic, though I've yet to use it. No oil yet, though. I was so thrilled when a new OPAQUE bright blue came on the scene but, due to it's scarcity, I'm hesitant to even start, concerned I may fall hard for a color that's impossible to get. Any idea if there's a special reason this color is rare or if it's intentionally "rare" to build hype?
@@toddmcaseyart I bought your great book, by the way, and am heartily recommending it to our students. The book is not only extremely informative, it's also beautiful!!
Thank you so much for the kind words@@michaeljohnangel6359 I'm honored that you find it useful and recommend it to your students. Feel free to email me any time: toddmcasey@gmail.com
